Lives of the Most Eminent Painters, Sculptors and Architects - All 10 Volumes. Giorgio Vasari

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СКАЧАТЬ art. Wherefore, having made acquaintance with certain studious persons, he began to penetrate with his fancy into questions of time, of motion, of weights, and of wheels, and how the latter can be made to revolve, and by what means they can be set in motion; and thus he made some very good and very beautiful clocks with his own hand.

      Not content with this, there arose in his mind a very great inclination for sculpture; and this took effect, for Donatello, then a youth, being held an able sculptor and one of great promise, Filippo began to be ever in his company, and the two conceived such great love for each other, by reason of the talents of each, that one appeared unable to live without the other. Whereupon Filippo, who was most capable in various ways, gave attention to many professions, nor had he practised these long before he was held by persons qualified to judge to be a very good architect, as he showed in many works in connection with the fitting up of houses, such as the house of Apollonio Lapi, his kinsman, in the Canto de' Ciai, towards the Mercato Vecchio, wherein he occupied himself greatly while the other was having it built; and he did the same in the tower and in the house of Petraia, at Castello without Florence. In the Palace that was the habitation of the Signoria, he arranged and distributed all those rooms wherein the officials of the Monte had their office, and he made doors and windows there in the manner copied from the ancient, which was then little used, for architecture was very rude in Tuscany. In Florence, a little later, there was a statue of lime-wood to be made for the Friars of S. Spirito, representing S. Mary Magdalene in Penitence, to be placed in a chapel; and Filippo, who had wrought many little things in sculpture, desiring to show that he was able to succeed in large works as well, undertook to make the said figure, which, when put into execution and finished, was held something very beautiful; but it was destroyed afterwards, together with many other notable works, in the year 1471, when that church was burnt down.

      He gave much attention to perspective, which was then in a very evil plight by reason of many errors that were made therein; and in this he spent much time, until he found by himself a method whereby it might become true and perfect—namely, that of tracing it with the ground-plan and profile and by means of intersecting lines, which was something truly most ingenious and useful to the art of design. In this he took so great delight that he drew with his own hand the Piazza di S. Giovanni, with all the compartments of black and white marble wherewith that church was incrusted, which he foreshortened with singular grace; and he drew, likewise, the building of the Misericordia, with the shops of the Wafer-Makers and the Volta de' Pecori, and the column of S. Zanobi on the other side. This work, bringing him praise from craftsmen and from all who had judgment in that art, encouraged him so greatly that it was not long before he put his hand to another and drew the Palace, the Piazza, and the Loggia of the Signori, together with the roof of the Pisani and all the buildings that are seen round that Piazza; and these works were the means of arousing the minds of the other craftsmen, who afterwards devoted themselves to this with great zeal. He taught it, in particular, to the painter Masaccio, then a youth and much his friend, who did him credit in this art that Filippo showed him, as it is apparent from the buildings in his works. Nor did he refrain from teaching it even to those who worked in tarsia, which is the art of inlaying coloured woods; and he stimulated them so greatly that he was the source of a good style and of many useful changes that were made in that craft, and of many excellent works wrought both then and afterwards, which have brought fame and profit to Florence for many years.

       THE CRUCIFIXION (After Filippo Brunelleschi. Florence: S. Maria Novella) Alinari View larger image

      Now Messer Paolo dal Pozzo Toscanelli, returning from his studies, and chancing one evening to be at supper in a garden with some of his friends, invited Filippo, who, hearing him discourse on the mathematical arts, formed such an intimacy with him that he learnt geometry from Messer Paolo; and although Filippo had no learning, he reasoned so well in every matter with his instinct, sharpened by practice and experience, that he would many times confound him. And so he went on to give attention to the study of the Christian Scriptures, never failing to be present at the disputations and preachings of learned persons, from which he gained so much advantage, by reason of his admirable memory, that the aforesaid Messer Paolo was wont to extol him and to say that in hearing Filippo argue he appeared to be hearing a new S. Paul. He also gave much attention at this time to the works of Dante, which he understood very well with regard to the places described and their proportions, and he would avail himself of them in his conversations, quoting them often in making comparisons. He did naught else with his thoughts but invent and imagine ingenious and difficult things; nor could he ever find an intellect more to his satisfaction than that of Donato, with whom he was ever holding familiar discourse, and they took pleasure in one another and would confer together over the difficulties of their vocation.

      Now in those days Donato had finished a Crucifix of wood, which was placed in S. Croce in Florence, below the scene of the child being restored to life by S. Francis, painted by Taddeo Gaddi, and he wished to have the opinion of Filippo about this work; but he repented, for Filippo answered that he had placed a ploughman on the Cross; whence there arose the saying, "Take wood and make one thyself," as it is related at length in the Life of Donato. Whereupon Filippo, who would never get angry, whatever might be said to him, although he might have reason for anger, stayed in seclusion for many months until he had finished a Crucifix of wood of the same size, so excellent, and wrought with so much art, design, and diligence, that Donato—whom he had sent to his house ahead of himself, as it were to surprise him, for he did not know that Filippo had made such a work—having an apron full of eggs and other things for their common dinner, let it fall as he gazed at the work, beside himself with marvel at the ingenious and masterly manner that Filippo had shown in the legs, the trunk, and the arms of the said figure, which was so well composed and united together that Donato, besides admitting himself beaten, proclaimed it a miracle. This work is placed to-day in S. Maria Novella, between the Chapel of the Strozzi and that of the Bardi da Vernia, and it is still very greatly extolled by the moderns. Wherefore, the talent of these truly excellent masters being recognized, they received a commission from the Guild of Butchers and from the Guild of Linen-Manufacturers for two figures in marble, to be made for their niches, which are on the outside of Orsanmichele. Having undertaken other work, Filippo left these figures to Donato to make by himself, and Donato executed them to perfection.

       THE SACRIFICE OF ISAAC (After Lorenzo Ghiberti. Florence: Bargello) Brogi View larger image

After these things, in the year 1401, now that sculpture had risen to so great a height, it was determined to reconstruct the two bronze doors of the Church and Baptistery of S. Giovanni, since, from the death of Andrea Pisano to that day, they had not had any masters capable of executing them. This intention being, therefore, communicated to those sculptors who were then in Tuscany, they were sent for, and each man was given a provision and the space of a year to make one scene; and among those called upon were Filippo and Donato, each of them being required to make one scene by himself, in competition with Lorenzo Ghiberti, Jacopo[17] della Fonte, Simone da Colle, Francesco di Valdambrina, and Niccolò d'Arezzo. These scenes, being finished in the same year and being brought together for comparison, were all most beautiful and different one from the other; one was well designed and badly wrought, as was that of Donato; another was very well designed and diligently wrought, but the composition of the scene, with the gradual diminution of the figures, was not good, as was the case with that of Jacopo della Quercia; a third was poor in invention and in the figures, which was the manner wherein Francesco di Valdambrina had executed his; and the worst of all were those of Niccolò d'Arezzo and Simone da Colle. The best was that of Lorenzo di Cione Ghiberti, which had design, diligence, invention, art, and the figures very well wrought. Nor was that of Filippo much inferior, wherein he had represented Abraham sacrificing Isaac; and in that scene a slave who is drawing a thorn from his foot, while he is awaiting Abraham and the ass is browsing, deserves no little praise.

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